The Joy McLean Bosfield papers, which dates from 1923 to 1995 and measures 3.41 linear feet, documents the professional life of Joy McLean Bosfield. The papers are comprised of personal and professional correspondence, concert programs, contracts, newspaper clippings, photographs, radio scripts, and record albums.
Scope and Contents note:
The collection which dates from 1923 to 1995, bulk dates 1945-1985, documents the professional career of Joy McLean Bosfield. The papers document Ms. McLean's professional career as a singer and vocal teacher through photographs and recital programs. In particular, there are two scrapbooks which focus on Ms. McLean's employment with a traveling theater production of Porgy and Bess. There are also radio scripts from Ms. McLean's stint with the British Broadcasting Corporation and phonograph records that captured her vocal talent.
Arrangement note:
The papers are arranged into five series. Folders are arranged alphabetically within series, while documents are organized chronologically. Undated material appears in the front of folders. Oversized material appears in the Career Series.
Series 1: Biographical Files
Series 2: Career
Series 3: Correspondence
Series 4: Music Collection
Series 5: Photographs
Biographical/Historical note:
Joy McLean Bosfield was born on January 27, 1924 to John and Florence Mearimore. Her mother, an immigrant from Demerara, Guiana, married McLean's father, a prominent New York businessman, in March of 1923 in New Jersey. She lived with her family in Paramus, New Jersey until 1940, when she graduated from Ridgewood High School. During that same year McLean was accepted to the prestigious Hunter College, in New York. Her mother moved with her to New York City where they lived with Mrs. Mearimore's older brother. During her time in New York, McLean developed important relationships that helped shape her professionalism and creativeness.
On February 26, 1945, McLean performed in her first recital at St. Martin's Little Theatre. It was the beginning of a long and distinguished career as a soprano opera singer. Three years after graduating and making her debut, she went on to perform at Carnegie Hall. In June of 1948, McLean married Charles McLean and moved to England. Mr. McLean, originally from British Guiana, wished to study law at London University, while Ms. McLean continued to develop her career by working for the BBC (British Broadcasting Corporation) as a solo soprano for several of their programs.
In 1952 Ms. McLean toured with an American company of Porgy and Bess. Through the production she travelled all over the world including eastern and western Europe and the Middle East. When she returned to the United States, McLean joined several musicals and continued to give recitals and public appearances. At some point, McLean married Samuel Bosfield and began being known as McLean Bosfield. She claimed the name change reflected her many years as a public figure and the importance of the associated reputation it generated.
Later in life, McLean moved to Washington D.C. with her husband where she continued to work on her career by giving recitals and performing as a piano accompanist. She also began working for the Frederick Wilkerson Studio of Voice as a vocal coach. After the death of Wilkerson, McLean took over the studio in the 1980s. She called it the McLean Bosfield Vocal Studio. Besides vocal training she also produced public recitals for her students. The final student concert of the studio was held on March 17, 1985. It was not only the final concert for the studio (Ms. McLean retired and closed the studio in 1985) but it would also be Ms. McLean's final public performance. With the death of her husband, Samuel Bosfield, and her mother in 1983 and 1984 McLean found no reason to stay in D.C.
She moved to Chapala, Mexico in 1985 after reconnecting with an old family friend she knew when she lived in New York City while attending college. Upon moving to Mexico, McLean married her long time friend, Bill Jackson who was several years her senior and had moved to Chapala years earlier with his deceased first wife. Jackson and McLean spent several fruitful years together, participating in community theater productions and other community functions until his death in 1991 at the age of 91. On April 4, 1999, Joy McLean Bosfield died.
Provenance:
The Joy McLean papers were donated to the Anacostia Community Museum in September 1985.
Restrictions:
The collection is open for unrestricted research. Use requires an appointment.
Rights:
The Joy McLean papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
This collection, which dates from circa 1974-2003, contains approximately 120 playbills and programs relating to black theater in Washingon D.C., including memorabilia from Arena Stage and the Kennedy Center. One playbill bears the autograph of Debbie Allen. Also present are magazines, newspaper clippings, posters, photographs of community events and 23 record albums. The albums include performances by Richard Pryor and various soul and R&B singers.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
The collection consists of a single memorial program documenting the April 9, 1990 funeral of Sarah Vaughan at the Mount Zion Baptist Church, Newark, New Jersey.
Scope and Contents:
The collection consists of a single memorial program documenting the April 9, 1990 funeral of Sarah Vaughan that took place at the Mount Zion Baptist Church located in Newark, New Jersey. A brief biography of Vaughan's music career, photograph, and the order of the funeral service are included in the memorial program.
Arrangement:
The collection consists of a single item.
Biographical / Historical:
Sarah Lois Vaughan was born to Asbury "Jake" and Ada Vaughan on March 27, 1924 in Newark, New Jersey. In 1942, she won an amateur contest at the Apollo Theatre and by 1943 was working as a singer and second pianist for the Earl Hines band. She was a leading female jazz vocalist between the 1940s and 1980s. During her long career she performed with such leaders in the field of American jazz like Billy Eckstine, Dizzy Gillespie, Charlie Parker, and Miles Davis. Vaughn died on April 3, 1990 at the age of sixty-six in California.
Related Materials:
Materials in the Archives Center, National Museum of American History
Bobby Tucker Papers NMAH.AC.1141
Benny Carter Collection NMAH.AC.0757
WANN Radio Station Records NMAH.AC.0800
Earl Newman Collection of Monterey Jazz Festival Posters NMAH.AC.1207
Herman Leonard Photographic Collection NMAH.AC.0445
Leonard and Mary Gaskin Papers NMAH.AC.0900
W. Royal Stokes Collection of Jazz Musicians' Photographs NMAH.AC.0766
Ella Fitzgerald Papers NMAH.AC.0584
Duncan Schiedt Photograph Collection NMAH.AC.1323
Provenance:
Collection donated by Azariah Morton,1991 May 21.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Lillian Evanti holding container wearing costume for operatic role of Lakme.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Ickes, Harold L. (Harold LeClair), 1874-1952 Search this
Collection Creator:
Smithsonian Institution. Anacostia Community Museum Search this
Extent:
1 Sound recording (cartridge, 1/4 inch)
Type:
Archival materials
Sound recordings
Narration
Place:
Lincoln Memorial (Washington, D.C.)
Washington (D.C.)
United States
Date:
1992
Scope and Contents:
Clips of Marian Anderson's outdoor concert on the steps of the Lincoln Memorial in Washington, D.C. on April 9, 1939. Howard L. Ickes introduced Marian Anderson's performance. Narration between clips of radio broadcast provides context for historical event, including its significance in sparking D.C.'s modern civil rights movements.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
To achieve these rights: the struggle for equality and self-determination in the District of Columbia, 1791–1978 exhibition records, Anacostia Community Museum Archives, Smithsonian Institution
Smithsonian Institution. Anacostia Community Museum Search this
Extent:
1 Sound recording (audio cassette)
Type:
Archival materials
Sound recordings
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
1986
Scope and Contents:
Performance of 'Paul Robeson, American' in which William Marshall - the Emmy Award winner, actor, producer, and star of stage and cinema - recreated the legendary Paul Robeson. On April 16, 1986, a performance took place at Eastern Senior High School in northeast Washington, D.C. On April 17, 1986, a performance took place at Ballou Senior High School in southeast Washington, D.C.
Performance. Audio only. Very poor audio quality. Related to exhibition 'The Renaissance: Black Arts of the Twenties.' Dated 19860416.
Biographical / Historical:
The exhibition - The Renaissance: Black Arts of the Twenties - showcased the evolution and achievements of the Renaissance, which was the explosion of literary, visual, performance, and cinematic creativity generated by black artists between the end of World War I and the early days of the Great Depression. Represented is the creativity of Marian Anderson, Richard Barthe, Countee Cullen, Aaron Douglas, Duke Ellington, Meta Warrick Fuller, Roland Hayes, Zora Neale Hurston, Malvin Gray Johnson, Alain Locke, "Jelly Roll" Morton, Paul Robeson, George Schuyler, and Wallace Thurman, among others. The exhibition, held at the Anacostia Neighborhood Museum, ran from September 1985 - December 1986.
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Smithsonian Institution. Anacostia Community Museum Search this
Extent:
1 Sound recording (audio cassette)
Type:
Archival materials
Sound recordings
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
1986
Scope and Contents:
Dorothy Gilliam, Washington Post columnist and author of numerous articles and books including 'Paul Robeson: All American,' shares insights on Robeson's extraordinary life and career.
Lecture. Audio only. Very poor audio quality. Related to exhibition 'The Renaissance: Black Arts of the Twenties.' Undated.
Biographical / Historical:
The exhibition - The Renaissance: Black Arts of the Twenties - showcased the evolution and achievements of the Renaissance, which was the explosion of literary, visual, performance, and cinematic creativity generated by black artists between the end of World War I and the early days of the Great Depression. Represented is the creativity of Marian Anderson, Richard Barthe, Countee Cullen, Aaron Douglas, Duke Ellington, Meta Warrick Fuller, Roland Hayes, Zora Neale Hurston, Malvin Gray Johnson, Alain Locke, "Jelly Roll" Morton, Paul Robeson, George Schuyler, and Wallace Thurman, among others. The exhibition, held at the Anacostia Neighborhood Museum, ran from September 1985 - December 1986.
Local Numbers:
ACMA AV001234_B
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
Smithsonian Institution. Anacostia Community Museum Search this
Extent:
1 Sound recording (audio cassette)
Type:
Archival materials
Sound recordings
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
1986
Scope and Contents:
Baritone Charles Williams performed selections from the folk opera 'Porgy and Bess' and 'Five Langston Hughes Songs,' composed by Elsie Siegmeister. In between performances, he spoke about the plot and history of the opera as well as the songs composed by Siegmeister. He also addressed questions, many of which revolved around his study of opera. Williams performed the role of Sportin' Life in the folk opera 'Porgy and Bess' at the Metropolitan Opera for two successive seasons.
Lecture and performance. Sound only. Related to exhibition 'The Renaissance: Black Arts of the Twenties.' Dated 19860710.
Biographical / Historical:
The exhibition - The Renaissance: Black Arts of the Twenties - showcased the evolution and achievements of the Renaissance, which was the explosion of literary, visual, performance, and cinematic creativity generated by black artists between the end of World War I and the early days of the Great Depression. Represented is the creativity of Marian Anderson, Richard Barthe, Countee Cullen, Aaron Douglas, Duke Ellington, Meta Warrick Fuller, Roland Hayes, Zora Neale Hurston, Malvin Gray Johnson, Alain Locke, "Jelly Roll" Morton, Paul Robeson, George Schuyler, and Wallace Thurman, among others. The exhibition, held at the Anacostia Neighborhood Museum, ran from September 1985 - December 1986.
Local Numbers:
ACMA AV001226_B
Series Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.
1 Item (Silver gelatin on cellulose acetate film sheet., 4" x 5".)
Container:
Box 45
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
1955 March
Scope and Contents:
Subject/Sitter: Glee Club
African American Choir director seated at piano in front African American choral group. No ink on negative. Kodak Safety Film edge imprint. No Scurlock number.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
African American college students -- 1950-1960 Search this
Photographs -- 1950-1960 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
1 Item (Silver gelatin on cellulose acetate film sheet., 4" x 5".)
Container:
Box 52
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
1960 May
Scope and Contents:
Subject/Sitter: faculty talent show
African American man singing on stage. No ink on negative. No visible edge imprint.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1960-1970 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
April 9, 1939
Scope and Contents:
Reception at Howard University. Ms. Anderson is shown in profile, wearing a fur. A man stands beside her, and a female figure with bare shoulders is in the foreground, hiding the face of the man. No ink on negative edge. No manufacturer's mark on film edge.
General:
In a lecture at George Washington University, 10/19/01, Jeff Fearing attributed the Anderson documentation to Robert Scurlock, and Vivian Scurlock corroborated this on 6/26/02.
From negative Box C. No. 147 on original container. Contact proof on 2-image print (labelled "reception at Howard U" on verso) , in Box 81.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
1 Item (Silver gelatin on cellulose acetate film sheet., 4-1/4" x 3-1/4"..)
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
April 9, 1939
Scope and Contents:
No ink on negative. Marian Anderson, dressed for travel with a fox stole, standing beside a train in Union Station. Porters and other travellers in background. Agfa Safety Film edge imprint. No Scurlock number.
General:
In a lecture at George Washington University, 10/19/01, Jeff Fearing attributed the Anderson documentation to Robert Scurlock, and Vivian Scurlock corroborated this on 6/26/02.
Negative box C. Contact print on 3-image proof print, 8 x 10", in box 81.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
1 Item (Silver gelatin on cellulose acetate film sheet., 3-1/4" x 4-1/4".)
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Washington (D.C.) -- African Americans
Date:
April 9, 1939
Scope and Contents:
No ink on negative. Anderson, wearing fur stole, accompanied by two men. Notation on verso of contact print: "Arrival at / Union Station / Wash D.C. w/accomp / pianist" [sic]. On Agfa Safety Film. No Scurlock number.
General:
In a lecture at George Washington University, 10/19/01, Jeff Fearing attributed the Anderson documentation to Robert Scurlock, and Vivian Scurlock corroborated this on 6/26/02.
Stored in box C. Contact proof on 3-image print, in box 81.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
1 Item (Silver gelatin on cellulose acetate film sheet., 3-1/4" x 4-1/4".)
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Lincoln Memorial (Washington, D.C.)
Washington (D.C.) -- African Americans
Date:
April 9, 1939
Scope and Contents:
No ink on negative. Two men and woman in audience talking. No film edge imprint. No Scurlock number.
General:
Notes on original enclosure: "#9 / 1-8-1/2 x 7 / contact proof". Negative Box C. Contact proof in upper left of 4-image print, 8 x 10 in.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
1 Item (Silver gelatin on cellulose acetate film sheet., 3-1/4" x 4-1/4"..)
Culture:
African Americans -- Washington (D.C.) Search this
Type:
Archival materials
Photographs
Place:
Lincoln Memorial (Washington, D.C.)
Washington (D.C.) -- African Americans
Date:
April 9, 1939
Scope and Contents:
No ink on negative. Secretary of the Interior Harold Ickes talking with two other men. Agfa Safety Film edge imprint.
General:
No corresponding contact print located.
Subseries Restrictions:
Collection is open for research.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Subseries Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Photographs -- 1930-1940 -- Black-and-white negatives -- Acetate film
Subseries Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
